Followers

About Me

Since the 1990s I have been very involved with fighting the military "don't ask don't tell" policy for gays in the military, and with First Amendment issues. Best contact is 571-334-6107 (legitimate calls; messages can be left; if not picked up retry; I don't answer when driving) Three other url's: doaskdotell.com, billboushka.com johnwboushka.com Links to my URLs are provided for legitimate content and user navigation purposes only.
My legal name is "John William Boushka" or "John W. Boushka"; my parents gave me the nickname of "Bill" based on my middle name, and this is how I am generally greeted. This is also the name for my book authorship. On the Web, you can find me as both "Bill Boushka" and "John W. Boushka"; this has been the case since the late 1990s. Sometimes I can be located as "John Boushka" without the "W." That's the identity my parents dealt me in 1943!

Thursday, May 29, 2014

"Law of Mosaics" by Ted Hearne, earlier quartet of Timo Andres offered in the Village; I hear it "in absentia"; also, Mozart's last piano concerto

I didn’t make it to an interesting concert May 28 at Le
Poisson Rouge in New York (a favorite spot; the closest thing in DC to it is
the 9:30 club), but I played some of the music today. So I guess I managed to duplicate my body after all.

The PR’s resident chamber orchestra played two important new
works (not premieres) under Christopher Roundtree.

The biggest of these was “Law of Mosaics” by Ted Hearne, link
here, a 30-minute suite in six movements, which the composer describes as “How to
deal with parts in the absence of wholes”, that is, how to deal with things you
find when you don’t know the context.
That’s been a big issue before when people find pieces of my content
online (like when I was substitute teaching – so maybe this work should get
performed someday by orchestra students at West Potomac High School in
Alexandria, VA). The first movement
dives in with “Excerpts from the Middle of Something”, and establishes a
meandering, declamatory style with lots of masses sounds. The longest movement follows, “Palindrome for
Andrew Norman” (another composer).
Remember that Paul Hindmith’s Horn Concerto ends with a palindrome. There’s a quote from the slow finale of the
Mahler Ninth embedded. The third movement is “Climactic moments from (Barber’s)
Adagio for Strings and (Vivaldi’s) The Four Seasons, slowed down and layered on
top of one another”. The Barber is
conspicuous, and recalls the mood (for me at least) of the country right after
the Kennedy assassination in 1963. The fourth movement, “Beats”, is such (not
hip-hop) but offers a voice setting the tempo.
The fifth movement recalls the third in retrospect (Brahms did that in
his Third Sonata), with “Climactic moments from Movement 3, three times as slow
as before”, except that it didn’t seem slower. The finale is “The Warp and Wolf”
and gets a little nearer to post-romanticism, with a passage that sounds like
the Strauss Metamorphesen at the very end. The piece (2013) was commissioned by "A Far Cry" in Massachusetts.

Another work is an earlier string quartet (#1 ?) by Timo
Andres, “Thrive on Routine” (2010), (link) about 14 minutes, in four connected
sections “Morning, Potatoes, Passacaglia, and Coda”. This setup roughly resembles the Sea Interludes
from Britten’s Peter Grimes, and the style here seems to mix eclectic with a
little pastoral mood. The “routine” is
supposed to be that of a New England (or perhaps Idaho) potato farmer who gets
up at 4 every morning. (I hate getting
up at 4 AM to catch flights but have to do it.)
The material gradually grows more complex as the piece progresses.

Heane and Andres have collaborated, as in August 2011 when
Hearne wrote “Parlor Diplomacy” for Timo to perform, a bit of satire of
partisan politics (the debt ceiling crisis had been going on). It seems as though “Timo” is a trendy first
name these days (under age 30 right now), maybe a bit European.

I’ve covered Benjamin Britten’s “Young Apollo” before (June 13, 2012). That leaves the Mozart Concerto. I’m going to talk about a different one;
instead of 12, I’ll look at 27. That’s
the last of the Mozart Piano Concertos, K. 595, in B-flat. There are many versions on YouTube, like this
one by Trevor Pinnock, with the Oedipus Coloneus:

That particular performance is followed by an encore: two
movements from what sounds like a Mozart 4-hand Sonata in D.

The B-flat concerto is long (30 minutes) but is remarkable
for its gentleness and understated subtlety, long after the stormy D Minor and
C Minor concerti, and the Coronation (which Timo “recomposed” with a modern
left-hand part). I’m going to pretend
that Timo played the K 595 instead
because it’s of particular interest to me. As a senior in high school, I studied it and
got so I could play the piano part reasonably well. (The other Mozart work I worked with a lot
was the D Minor.) Had my life gone
differently and had I wound up in piano, this would have been in my repertoire
early. It seems the last work of a
particular period or style. What would follow
would be Beethoven, although the Beethoven B-flat concerto is still gentler
than his others. But even the official
Concerto #1 in C seems to announce a new era.

Analytics

Privacy Policy

Privacy Policy for billsdramareviews.blogspot.com

If you require any more information or have any questions about our privacy policy, please feel free to contact us by email at JBoushka@aol.com.

At billsdramareviews.blogspot.com , the privacy of our visitors is of extreme importance to us. This privacy policy document outlines the types of personal information is received and collected by billsdramareviews.blogspot.com and how it is used.

Log Files Like many other Web sites, billsdramareviews.blogspot.com makes use of log files. The information inside the log files includes internet protocol ( IP ) addresses, type of browser, Internet Service Provider ( ISP ), date/time stamp, referring/exit pages, and number of clicks to analyze trends, administer the site, track user’s movement around the site, and gather demographic information. IP addresses, and other such information are not linked to any information that is personally identifiable.

Cookies and Web Beacons billsdramareviews.blogspot.com does not use cookies.

DoubleClick DART Cookie

.:: Google, as a third party vendor, uses cookies to serve ads on billsdramareviews.blogspot.com .
.:: Google's use of the DART cookie enables it to serve ads to your users based on their visit to billsdramareviews.blogspot.com and other sites on the Internet.
.:: Users may opt out of the use of the DART cookie by visiting the Google ad and content network privacy policy at the following link.

Some of our advertising partners may use cookies and web beacons on our site. My advertising partners include ....... Google Adsense

These third-party ad servers or ad networks use technology to the advertisements and links that appear on billsdramareviews.blogspot.com send directly to your browsers. They automatically receive your IP address when this occurs. Other technologies ( such as cookies, JavaScript, or Web Beacons ) may also be used by the third-party ad networks to measure the effectiveness of their advertisements and / or to personalize the advertising content that you see.

billsdramareviews.blogspot.com has no access to or control over these cookies that are used by third-party advertisers.

You should consult the respective privacy policies of these third-party ad servers for more detailed information on their practices as well as for instructions about how to opt-out of certain practices. billsdramareviews.blogspot.com 's privacy policy does not apply to, and we cannot control the activities of, such other advertisers or web sites.

If you wish to disable cookies, you may do so through your individual browser options. More detailed information about cookie management with specific web browsers can be found at the browsers' respective websites.